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THE FUNCTION OF HUMOUR IN ROMAN VERSE SATIRE This page intentionally left blank The Function of Humour in Roman Verse Satire Laughing and Lying MARIA PLAZA 1 3 Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With oYces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York ß Maria Plaza 2006 The moral rights of the authors have been asserted Database right Oxford University Press (maker) First published 2006 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Servicers, Pondicherry, India. Printed in Great Britain on acid-free paper by Biddles Ltd., King’s Lynn, Norfolk. ISBN 0–19–928111–4 978–0–19–928111–4 13579108642 Matri Optimae This page intentionally left blank Preface The writing of this book was made possible by a grant from the Swedish Research Council, which I held between 2001 and the spring of 2004. During this time I have spent one term (Michaelmas 2001) at Corpus Christi College, Oxford; and I have presented my project at the seminars of Stockholm University, Go¨teborg University, and the University of Oslo—to all these environments I express my gratitude for their kind reception and many helpful suggestions. Throughout my work on the satires I have received diVerent kinds of help from many quarters, and I would like to thank the following people: Monika Asztalos, Ewen Bowie, Bracht Branham, Sandy Hardie, Stephen Harrison, Nicholas Horsfall, Paolo Leva, Elena Merli, Ruurd Nauta, Magnus Wistrand, and Maaike Zimmermann. Special thanks are due to Susanna Morton Braund and Inga Gerkan. Finally, I am very grateful to the Oxford University Press, especially to Hilary O’Shea and the two anonymous readers of the Press. All the above have helped make this a better book; the remaining imperfections are entirely my own responsibility. M.P. This page intentionally left blank Contents A Note on Editions and Translations x INTRODUCTION 1 The function of humour in Roman satire 1 Survey of humour theories 6 Survey of critical literature on humour in Roman satire 13 A note on author and persona 22 The paradoxes of satire, as mapped by Alvin Kernan 23 Programmatic statements on humour in Roman satire 27 Programmatic jokes: the hidden agenda of ambiguity 37 1. OBJECT-ORIENTED HUMOUR 53 The principle of mockery from below 53 Horace 57 Persius 90 Juvenal 105 2. HUMOUR DIRECTED AT THE PERSONA 167 The Muses of satire: walking, sitting, and absent 171 Horace: proWtable self-irony 189 Persius’ splitting self 221 Juvenal: to laugh with him or at him? 235 3. NON-ALIGNED HUMOUR 257 The concept of non-aligned humour in satire 257 Horace: optical grey—the balance of extremes 258 Juvenal: of monsters great and small—describing a grotesque world 305 EPILOGUE: THE GENRE DEVOURS ITSELF 338 Bibliography 342 Index Locorum 359 General Index 367 A Note on Editions and Translations The primary Latin texts are quoted from the following editions: Lucilius: F. Marx, (ed.), C. Lucilii Carminum Reliquiae (Leipzig, 1904). Horace: D. R. Shackleton Bailey, (ed.), Q. Horatius Flaccus: Opera, Editio quarta (Leipzig, 2001). Persius and Juvenal: W. V. Clausen, (ed.), A. Persi Flacci et D. Iuni Iuvenalis Saturae (2nd, rev. edn., Oxford, 1992). Unless otherwise indicated, the translations of the Latin and Greek quotations are my own, though they are indebted to extant English translations I have consulted, especially Niall Rudd’s renderings: Horace: Satires and Epistles, Persius: Satires. A Verse Translation with an Introduction and Notes by Niall Rudd (London, 1973; repr. with revisions, 1997) and Juvenal: The Satires. A New Translation by Niall Rudd (Oxford, 1992). It needs to be stressed that my aim has only been to make literal translations, not literary ones. Introduction THE FUNCTION OF HUMOUR IN ROMAN SATIRE The present study is about the function of humour in the verse satires of Horace, Juvenal, and Persius, with a glance at the fragments of Lucilius. Humour is generally acknowledged as a major element of Roman verse satire, yet it has not been seriously examined by most scholars. When the satirists themselves make explicit statements about their art, as in their so called programme satires,1 they describe humour as (1) a means of expressing their main message (moral criticism and teaching), and (2) as a pleasing element, making the moral message more palatable. Trusting the speaker in these satires— the satiric persona—many critics have taken these statements at face value and, as a consequence, seen humour as a separable, ‘entertain- ing’ ingredient, which the reader would have to see through in order to grasp the serious kernel of the satire. Yet this is not the whole truth about humour in satire. Humour, in satire as elsewhere, carries with it its own ambivalence. On the understanding adopted here, humour always entails a breach of rules—linguistic, behavioural, aesthetic etc.—and an acknowledge- ment of the breach. It follows that humour always has at least two possible meanings: on the one hand the joy of breaking the rule, with the suggestion that the rule is oppressive, unacceptable; and on the other hand, the insistence on the rule, with the implication that the breach is ridiculous and unacceptable. At its softest, humour may make a pronouncement less categorical, and give the speaker the excuse of ‘just joking’. At its strongest, it may completely revert the 1 Hor. S. 1.4, 1.10, 2.1; P. 1; J. 1, cf. also J. 10. 2 Introduction meaning of an utterance, as happens in harsh irony and sarcasm. Humour may lead the eye away from a weak point in the argument, or blacken an antagonist with entirely Wctional associations not easily washed oV.2 All of this and much more happens in Roman satire. It may perhaps be said to be peripheral. Yet, to paraphrase a memorable claim in a study of inversion: what is statistically peripheral is often symbolically central.3 It is, I believe, no coincidence that readers have found it painfully diYcult to agree on the exact overall moral message in Horace’s or Juvenal’s satires. In these authors the periphery of poten- tiallysubversivehumourinterferes withthecentralmessage somuchas to blur the contours of this centreand render its shapediYcultto grasp. My main thesis is thus that the Roman satirists do not deliver what they expressly promise to deliver, i.e. well-deserved ridicule of vice and vicious people, but rather give us a much more sprawling and ambiguous product, where humour is in fact more widespread than the criticism it is supposed to sweeten. This is not an accident, but an incongruity built into the very foundation of the genre: while the Roman satirist needs humour for the aesthetic merit of his satire, the ideological message inevitably suVers from the ambivalence that humour brings with it. While acknowledging the importance of social pressures, I argue that there is also an aesthetic ground for the curious, hybrid nature of Roman satire, and that the double mission of criticism combined with humour drives the satirists to build their art on paradox from the very beginning. The paradox of teaching and joking creates a residue of meaning and opens up for cheating in diVerent ways. One kind of satirical cheating is to pretend to attack one thing (e.g. the ruler) while 2 This was well known to the rhetoricians in antiquity, and so Cicero teaches these and other ways to use humour for the orator’s aims in his treatise on the laughable, in De Or. 2.235–90. 3 Barbara Babcock says in an introductory discussion of the cultural phenomenon of inversion: ‘What is socially peripheral is often symbolically central’ (B. A. Babcock, The Reversible World: Symbolic Inversion in Art and Society (Ithaca, NY: Cornell University Press, 1978), 32). If we think of ‘subversive humour’ where she speaks of ‘inversion and other forms of cultural negation’, the rest of her sentence is relevant to our present context as well: ‘and if we ignore or minimize inversion and other forms of cultural negation we often fail to understand the dynamics of symbolic processes generally.’ Introduction 3 actually attacking another (e.g. a competing poet). The members of the highly intellectual Russian Decabrist movement of 1825 found Juvenal inspirational reading for their anti-autocratic, revolutionary ideas,4 whereas it has recently been argued that Juvenal is Xattering the new emperor (Hadrian) by disparaging the old (Domitian).5 How can such disparate readings of the same text be at all possible? My answer is that humour makes it possible to make several state- ments at once.

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